Erenlai - Zijie Yang (楊子頡)
Zijie Yang (楊子頡)

Zijie Yang (楊子頡)

一個連自身存在都與所身處社會一樣荒謬的年輕男子,不太適應團體,不易尋得認同與歸屬感。曾參與06年廢墟佔領、寶藏巖公社抗爭;10年參與桑雅靜心劇坊學習舞踏;現為諾努客反核文化行動團隊活動企劃與鼓手,台灣大學社會工作學系系學生。

週二, 01 十一月 2011 00:00

鄉民,不只是看熱鬧 ─ 從新聞事件看PTT現象

全台最大的BBS站PTT,註冊人數超過一百五十萬,尖峰時段可匯集十四萬以上的人。這些人自稱鄉民,擁有自己的律法制度,他們在其中交換訊息、討論形形色色的事物,最後甚至攻占媒體版面,反過頭來影響真實的社會……

 

週四, 17 五 2012 13:55

人籟專訪 南屯天主堂高福南(Mbwi Khohi) 主任司鐸

南屯天主堂因為處於台中市市地重劃的單元三內,遭到永春重劃會要求比照其他農地,只得保留53%范賦理神父在1963年便募款買下的既有建地。

這個由台中三間知名建築公司組成的惠豐順開發公司主導的民間自辦重劃案,計畫將此區打造成媲美台北天母的環境,形成以中高價位別墅為主的純住宅區。針對天主堂爭議曾表示,­市地重劃必需闢建公共設施,具有公共性。

 

週五, 23 九月 2011 09:59

Djembe drumming across boundaries

An interview with Karamoko Camara

“They are very surprised, when people hear Taiwan, they only hear the name, and they cannot think how I came to be here.” Karamoko, or Moko as he is familiarly known, told us how people in his own country, Guinea, responded when they heard Moko was going to Taiwan.

“But you know, music has no boundaries. Music can make two countries friends. Music can pull so many people together.” He said in a firm but passionate tone.

Karamoko Camara is a master of African drumming and dance from Guinea, in West Africa. When people hear African drums, it often brings to mind the image of a crowd of people playing drums with their bare hands in a circle. “Djembe” is the most well-known kind of West African hand drum, which is played outdoors. He lived for almost eleven years in Japan, teaching and playing African music. This made him a cultural ambassador for West Africa.

“African music is powerful; you cannot play slowly, when you are happy, you play your happiness with the sound of your drums. Some people think it is too loud but it is the tradition. Our ways are our life. When you play in a happy way you can see the audience is happy also. In the local village, we play to celebrate a birth or as part of a ceremony, such as rainmaking.” He added.

He could not be happier that his host family plays Djembe as well, since he cannot live one week without touching drums. His host father, Sun Dafu (Daouda) is not only an enthusiast of African drums but also established the “African Culture and Art Association” in Taiwan. He teaches and organizes different workshops of African music and dance around Taiwan.

Moko noticed the differences in how people in Japan and Taiwan accept African music. He thinks Taiwanese are more receptive to it. In the countryside, even if the event was held in a little restaurant, people would make the effort to come and see him perform. People in Taiwan are more open than in Japan. “If you are lucky, you can find audiences who like African music, sometimes you discover that it is not to everybody’s taste.”


Watch Moko's performance at the Homestay closing banquet

週三, 08 八月 2012 15:51

記錄生命之「殤」─ 攝影者何經泰 X 拍/被拍者張榮隆

何經泰 工殤顯影I 1996

攝影是一種單向的觀看。

透過鏡頭看人,是權力,更可能是暴力。

面對生命的幽暗,按不按快門,永遠是橫亙在咫尺之間的巨大難題。

 

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何經泰

紀實攝影家,資深媒體攝影工作者,曾任職於《天下》、《時報周刊》等各大媒體,現為《明報周刊》副總編輯。個人作品《都市底層》(1990),《白色檔案》(1991)、《工殤顯影I》(1996)和《工殤顯影II》(2003),皆以安靜、沉穩的人像攝影,記錄受傷者/家庭的真實面貌。(攝影/林佳禾)

張榮隆

因職業災害而導致截掉右手右腳的工人,曾任「工作傷害受害人協會」理事長。工傷後自習繪畫、寫作、攝影,近年專注於社會運動的街頭攝影,並長期記錄受困勞資糾紛、工傷爭議在台外籍移工。2008年曾獲台北市政府「工人藝術家」殊榮。(攝影/林佳禾)

 

二十世紀初的美國紀實攝影家Lewis Hine曾說:「攝影不應當僅僅為了美,而應有一個社會目的。要表現那些應予讚美的東西,也要表現那些應予糾正的東西。」

 

鏡頭後的攝影者,總似主動地以觀景窗格框定人事景物,表達意義和隱喻;但鏡頭前的被攝者,卻似僅能默默被觀看、擺布,承受被曝光再現的壓力。某種程度,鏡頭確實是「權力之眼」──看,與被看;言說,與被言說,清楚地畫分出強弱兩端。

 

然而,當被拍攝的弱勢者,有一天拿起了相機,帶著明確目的,要為自己和他者發聲;想像,甚至宣稱自己,以再現人間真實為職志的紀實攝影家,會如何看待?

 

紀實攝影家何經泰,多年前數度與「工作傷害受害人協會」(簡稱「工傷協會」)合作。他曾拍下受傷工人張榮隆的手,並成為該協會出版繪本的封面;但他不知道,張榮隆後來開始也學習攝影,並成為穿梭在各種社運場合的影像記錄者。

 

時過境遷,兩人在《人籟》安排下重逢。把酒言歡之間,他們暢談彼此的攝影經驗,也分享對攝影者與被攝者之間的種種看法。

 

 


先談談兩位怎麼開始接觸攝影吧?

 

張:對我來說,接觸攝影是個機緣,要不然右手受傷的我,大概是沒辦法玩攝影的。

 

工傷協會舉辦過一些團體性或藝文性的活動,用意是硬梆梆的抗爭之外,也能利用文化活動,讓社會大眾看見我們是誰、想說什麼。那時候開了一個DV攝影班,我參與了前面一兩次,第一次接觸到影像器材,也才意識到要控制那些機器,會有些限制。我開始好奇,自己到底可不可以玩這些東西?剛好朋友有台相機,就借來自己摸索,慢慢拼裝出一個把手,結果發現:欸,左手居然也可以按快門了!

 

於是,我開始拿起相機。因為協會常上街頭抗爭或辦活動,我一開始就跟著協會的議題拍,沒有自己設定主題。直到現在,我的題材就是社運組織者和他們的服務對象,非常明確。

 

何:我拍照的時間就長了,大學畢業就當攝影,到現在都56歲了。我是在韓國出生,來台灣念大學才喜歡上攝影,要畢業的時候,曾經辦過一個展覽,內容是很意境式的那種,色塊啦、線條啦……

 

不過,那時候心裡嚮往的還是新聞攝影。80年代初有很多老師帶了新的思想進來,所以我就想當個攝影記者。1982年畢業後,我進到媒體工作,先是在《天下》雜誌,後來又到《時報周刊》。

 

當時報導攝影盛行,其中又首推《人間》雜誌。我沒有在《人間》發表過任何作品;不過,那年頭專職的攝影師就只有幾個,大家都很熟,跑街頭拍完照,常常一起去喝酒。總之,我也受到左派思想的啟發,所以後來才會開始拍《都市底層》。

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何經泰 都市底層 1990

在報導光鮮的主流媒體工作,怎麼會想去拍攝社會底層的人物?

 

何:在《天下》都是去採訪大老闆,當時「台灣錢淹腳目」,正是股票最高點的時候。後來到了《時報周刊》,因為跑社會新聞,我到了許多沒去過的角落,這才發現:哦!原來台北還有一批人是不一樣的。

 

我和榮隆不一樣。我是從攝影創作出發,在那個時代氛圍下,我希望自己的作品對社會有意義,讓大家看見台灣有這個狀態。「都市底層」系列就是呈現台北的貧窮現象,在那時大家也許看不見,或刻意迴避;但我看到了,覺得該呈現出來。

 

當然,我是以攝影為生的人。工作上的題材常受人支配,很難有完整的作品。大學畢業到現在30年,我都在上班,就算有感興趣的議題,也只能擠出一點時間來拍。

 

 

《都市底層》非常罕見地用人像來呈現貧民和街友,當時的想法是什麼?

 

何:我想涵蓋一個面向,樣本要多,所以選擇用人像的方式來拍。一般拍街友,如果用側拍、抓拍,快速偷按個幾張,非常容易;但我不想這樣呈現他們,而是想直接面對。我總是告訴他們:「你要明確地看著鏡頭,知道我在拍。」

 

為什麼看鏡頭很重要?因為對方必須「同意」才會看著鏡頭。我做人像,想強調的正是「面對」:他面對鏡頭,我面對他,甚至到了展覽,觀眾也得面對!當我要拍的時候,有些街友還會整理一下頭髮,弄一弄衣服。相機,跟我,跟他,直接面對面。

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HO4

 

 

何經泰 都市底層 1990

拍攝這樣的照片,通常如何與被拍攝者建立關係?

 

 

何:我花了三年做《都市底層》,拍下照片的有上百人,接觸過的就更多了。我不是個很外向的人,要建立關係,其實很難。一開始,我在那邊晃半天,不敢講話;但他們以為我也要睡,反而主動指點。就這樣,可以開始聊天,慢慢認識幾位固定的朋友,熟了才敢提拍照的事。

 

張:我的位置不同,不是因為喜歡攝影才去找題目拍。我是工傷協會、社運圈的一分子,不需要太多溝通,大部分的人都認識我。對我來說,最困難的問題是:拍這個要幹嘛?一直到現在,我還是常常無法說服自己。

 

社運團體的合作關很複雜,有時候不知道怎麼處理,拍照就會很「退」,常要考慮不同單位的想法。我透過相機所拍下的影像,可能會被更多人看見,那它造成的效應,符不符合這些組織的需求,就變得很重要。

 

何:我想拍《工殤顯影》的時候,工傷協會很正式地把我找去開會,要我報告為什麼想拍。我說先前的《都市底層》和《白色檔案》這兩個作品都跟受到傷害的人有關;也談到我覺得怎麼有這麼多的人,受了傷卻被不平等對待,所以想記錄他們。協會內部討論同意了,我才開始拍。

 

 


「工殤」系列有協會的支援,拍攝過程會比較容易嗎?

 

何:《工殤顯影I》其實是最痛苦的一次拍攝經驗。每天下班七、八點以後,才跟著協會工作人員去採訪,一個晚上回來,第二天又去採訪下一個。除了工作的壓力,還要面對工傷者所承受的壓力……

 

張:很重(笑)。

 

何:對,每個人的故事都讓我覺得很強烈。要呈現傷處,必須直接拍攝傷者的身體,但是這太直接了,效果不好,必須改用一些手法。一個人受傷後,要把自己的缺陷直接露出來,並不容易;有些人是為了組織,為了大家可以爭取權益,才勉強面對鏡頭。

 

張:當初答應的人,後來想法也可能改變。拍完之後幾年,我當理事長的時候,就有個朋友打電話來,表示當初的影像不想再被公開,因為他已經走過傷痛的那段時間。

 

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張榮隆 「我要休假」移工大遊行 2007

 

 

把缺陷、私密曝露出來,甚至留下影像,怎麼說情緒都會很糾結吧?

 

張:我也是個受傷的人,以前不敢面對自己,就算在協會裡也不曾把義肢拿下來。我曾有過不好的被拍經驗,在一次記者會上,記者為了拍出張力比較強的照片,叫我把義肢拿下來。當時我還沒辦法接受自己的殘缺,卻在那種情境下被迫這麼做,感覺很不爽!

 

何:攝影記者總會叫你擺姿勢,很有入侵的感覺……

 

張:一直到現在,我還不大敢用相機去正視拍攝對象。常有人建議我,拍人應該更近一點,把張力呈現出來,但我還是沒辦法。

 

我曾看過有個記者為了拍到當事人的眼淚,把鏡頭貼近到只有三十公分的距離,問題是戴著口罩的當事人根本不想曝光。我當時心想:「這種照片拍下來,張力一定很強!」不過,這必須建立在別人的痛苦上。所以,就算心裡也想拍出張力,我就是拍不下來。

 

 


身為攝影者,恐怕永遠在「入侵」別人,該怎麼自處?

 

張:我不是記者,拍了照也沒辦法報導,或直接幫上什麼忙。不管是拍工傷者,或是外籍移工,都是為組織做紀錄,透過影像和他們建立關係。所以,我常把照片送給拍攝對象,除非組織有需求,否則我非常不想消費別人。

 

我認識一群身心障礙者,曾經想要拍,想了很久,還是不太敢,後來變成教他們攝影。不過,其中有一位比較熟的朋友,我真的開口問了,而他也爽快答應。他的雙腿有先天性肌肉萎縮。有一次在外面過夜,他洗完澡,穿著小短褲跑到我房間說:「榮隆,快點!你幫我拍兩張!」當時我傻住了,考慮了一下才動手拍。如果當時要主動,我還是會膽怯。他的照片,後來也不知道要怎麼處理,乾脆全部送他,也沒發表。

 

何:我覺得只拍些紀錄照、送照片,有點可惜。

 

以前門檻比較高,現在幾乎人手一台相機,攝影也在改變。人文攝影以前是「外求」,去拍外面的對象;現在很多人則是「內求」,拍自己或身邊的東西。外求需要溝通、認識,有很多困難;但內求,可以捕捉到很多不同的東西。

 

國外有個攝影師,專拍他父母吵架,他有張有名的照片就是他爸爸拿酒瓶丟他媽媽,而那個酒瓶正飛在空中。這樣的畫面,一般攝影師絕對拍不到。你只有進入他們生命的核心,才有可能。

 

榮隆是「在裡面的人」,可以好好拍身邊的人事物,手法上可以更有意識一點,或帶著想法去做一些創意。攝影這東西,就算現在看沒有意義;但20、30年以後,可能就完全不一樣了。

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張榮隆 暫停之家 2010

所以,當每個攝影者都是「巷內的人」,拍「巷內的事」,情況就不同了嗎?

 

 

張:我不認為反觀、內求,就會比較容易拍。我拿起相機一段時間之後,曾經想說幹嘛老是拿鏡頭對著人家?有一次,我就把鏡頭反過來對著自己,快門一按,看了照片嚇一跳。原來自己看起來是這副德性,看了會怕,但怕完才能真正去面對自己。

 

我帶身心障礙者的攝影班,曾經出過「自己的一天」這種內省題材。印象最深的是一位精神分裂的朋友,在發病的狀態下,拍三更半夜的街頭、自己的冰箱與藥罐。原來,他發病時有強迫症狀,會一直去開冰箱。

 

我也想過,這些故事如果能寫下來就太棒了!但討論後,大家覺得只有彼此信任的學員才能看。所以,就算是內求也很不簡單,在自我揭露與認知上,要達到某個程度才能做到。

 

何:任何拍攝在執行上一定要尊重當事者,這是前提。但想太多消費的問題,也沒必要。講句不好聽的話,參加街頭運動需要媒體報導,這也是在消費嗎?我認為這是相互的,出發點是否尊重、誠懇,比較重要。

 

再舉個國外的例子,有一個愛滋病末期的人,請一位朋友來為他拍照,結果造成轟動,很多人開始對愛滋有正向的看法,甚至影響了政策。像這種情況,你不能夠只想:「這個人要死了,你怎麼還在拍,這樣不是很殘忍嗎?」

 

作品一出來,就不只是作者的了。這作品以後會怎麼講話,有怎樣的社會性,不是作者所能要求的。當然,自己心裡,總希望能帶來改變。

 

採訪、整理|楊子頡、林佳禾

攝影|何經泰、張榮隆

 

 

 

 

週三, 15 二月 2012 16:42

Economic pressure on young shoulders

Mr. Sun from from the Taiwan Labor Front, and Huang Shiyi, a Masters student, share with us their different perspectives on work and marriage in today's society. Though they have different opinions about certain aspects, they both agree that the awful economic conditions of Taiwanese youth today are a big contributor to the slowly declining birth rate, and a reluctance to get married and start a family.

 

 

Taiwan Labor Front Secretary General, Sun You Lian

When the Corporation overrides the Nation

“The collapse started a long while back, and it has been a gradual, dynamic process.”  The Taiwan Labor Front Secretary General, Sun You Lian, said that this generation is faced with the problems of increased corporatization, poverty, and a low birth rate amongst others, all of which is leading to its collapse. This is the karma of Taiwan’s developing history. The government should be blamed for its “Neo-liberalist” economic policy, no matter which party is in power.

Since 1980, Neo-liberalism has become a mainstream idea which is valued by all countries. It believes that the less governments intervene in economic affairs the better and that economic power should be handed over to market mechanisms, not considering that the tax cuts could actually damage the same countries that believe in it. “ The government believed that after enterprises grow and gain better profit margins, they will naturally flourish, and subsequently give back to laborers and society as a matter of course.” Sun refuted above argument, “Most of enterprises don’t have conscience. Neo-liberalism only allows big corporations control the government easier, but laborers salaries don’t increase.”

He mentioned that no matter whether the people are informed about it or aware of it, 800,000 Taiwan dollars are still owed by each Taiwan citizen in national debt. Some say that this debt is due to a large social welfare, but he believes the true reason to be tax breaks: the lack of taxes for the corporations in order to encourage investment.

The youth become the “working poor”

“Nowadays, poverty is no longer exclusively for people under the poverty line, it is suffered by the general public. In the past, work is a way to lift oneself out of poverty, but the government’s mistakes have allowed the average young wage to fall to a meager 22K(22,000).” Sun lamented: “Compared to previous generations, even though the youth nowadays have better education opportunities, their career conditions and salaries are getting worse year by year. It’s easy to anticipate they will be poor throughout their whole life.”

“When can these young people of this generation raise their wages from 22.000 to 50.000? While waiting for their salaries to increase, they must face high house and commodity prices. When they reach retirement age, they probably encounter postponed retirement, extremely high insurance fees, and the highest taxes for the lowest payment of the National Pension Insurance, because the national treasury will be running out of funds.”

“A former colleague of the Taiwan Labor Front who graduated from the political science department of National Taiwan Univ. got a salary of 20,000 per month 20 years ago. His elders told him that doesn’t matter for a young man with ideals.” “A pay of 20,000 was considered as a bit of a sacrifice in that time, but 20 years later it is considered the norm”, Sun said with a bitter smile.

Poor and harsh are the words Sun uses to describe the working conditions of youth generation. “Poor because the work is very stressful but the rewards are very few. It is harsh because they can’t afford living costs let alone dare to get married and have children.” The origin of all these crises can be traced back to side effects from the government-made tax breaks, social welfare cuts and reduced salaries. The effect of the poverty in work reflects on the family situation as well, causing a problem that we could call “fertility strike”.


Translated from the Chinese by  Yang Zi-jie
proofread by Daniel Pagan Murphy

Thoughts about marriage and the meaning of family

Huang Shiyi is 33, but has no plans of getting married in the near future. He is unorthodoox in his work as well, snce, amongst other part-time jobs, he is also a tarot reader. In this video, we follow him during a day in his life and learn his opinions about marriage, family, and the reasons behind Taiwanese youth being more reluctant to make a commitment.


週五, 26 十月 2012 13:50

木質的詩 Le Poème Lignifié

http://www.poeme.paralogie.com/
同樣來自台灣東部的兩位藝術家,莊馨怡和林友達在南海藝廊的展場中,談他們自己的作品與藝術概念。
林友達為台東阿美族裔,台中師院美術系、台灣藝術大學造型研究所雕塑所畢業後,於法國勃艮地大學得到法語認證。
莊馨怡是花蓮人,在台北藝術大學美術系、台灣藝術大學造形所畢業後,在巴黎第八藝術大學研究所就讀。
 
 
此計畫欲致力研究造型藝術創作者透過對於物質的可能性之提問,並尋找一種孤寂風景。在此,詩是一種平行於自然環境的美學直覺與反思的產物。為了描述存有學轉換性所在的「臨時之他處」,兩位藝術家試圖現象學式地用「風景」轉換對「場所」的思考。

鑒於「風景」不佔據實存的點,在這「臨時之他處」,兩位藝術家描繪自身離心的曲線與劃出記憶輪廓的痕跡。

除了實際的地理位置座標的預想立場外,場所也處在錯落、交雜、疊層的歷史中。因此,我們可以探知藝術家最為關心的:身體感知對於存有裂隙的趨近(或迫近),它不僅會在空間中產生陰影與痕跡,且人的記憶在此得到落腳處,主體在此敏感地持有開
記憶的鑰匙,他得以憑藉著相信的意志追尋到風景的韻律。由於人為與自然之間過分(溢)的勞動,主體常常處在不斷往返的過程:即主體返回柔軟的同時,往往伴隨著一自述性的主體性格。

此自述性的別處(或他方),是為「鄰近性」的考察–存有在存有瞭解中化解區別的過程。更進一步來說,在鄰近性的類比中,存有的自身狀態指的是一個無法避免的混淆。此混淆先是自述性通過換
性的移位,形成自身的變貌,隨後,在不確定性、流變中,找出永恆的隱特質,並嗅出一股隱性想像力,回到整體性中,成為真實可感的隱,以透過「體驗中物」佔回那讓它展開的空間,回到自身的狀態。

又因鄰近性具有觸覺般的滑動可能,唯有透過換
的脈絡和隱的連鎖之交叉,才能保障可述空間「必要的」一致性,形成胚體般的體。藉此,主體處在一種「綿延韻律」中,從未知不定的起源間距,循著生命記憶的運作,透過知覺、形象產生「與」物的溝通。各種綿延本身並不是外在地相互接壤,而是在本質上交錯切分,每一種綿延在他自身之中都包含了對於其他層次的痕跡與記憶。在「與」的位置上片面符合、在間距交錯間,身體主體在感覺發生的變動過程中形成其「不完全符合」的主體化體驗,身體被這種存有裂隙打開成兩片,身體可以向外看的同時被看,可以在觸摸的同時被觸摸,也就是「在它之中」觀看,並形成流動與液態的形象感受–在深淵中探索或聽診,並刻下碑文與圖騰。

藉以發現,當我們處在緬懷的游動中,鄰近的記憶綿延留存在物質痕跡中, 是如何在自然中遇見。
 
 
 
 
台北 南海藝廊
2012.07.12 - 2012.07.22
 
 
 
 
林友達
 
 
 
莊馨怡

在中國的朋友可以點選這裡

週一, 03 九月 2012 08:39

History of the Shida Controversy

( Mandarin Training Center in NTNU)

Unlike in most in most Western countries, the mixture of residential and commercial areas is a significant characteristic of Taiwanese Cities. Most foreigners who have lived on this island for a while are sure to have discovered this charm and convenience already. How should people live and work together in this kind of lively sleepless streets is another question.

The well-known Shida Road and surrounding areas probably are the first stop for many foreign students in Taipei City. Since the war between a residents’ group and businesses began, rumors and mistrust have spread through the area. Shidahood Association (師大三里自救會) seems to be trying to shut down every illegal shop in the area, the illegal status of is often attributable to a rather complicated history.

The story continues still, and no one can be sure how this chapter will end. We try to locate the actual historical casual relationships of this controversy, starting in the 1960’s.

 

The timeline of the Shida area controversy

9102_3Going back to the 1960’s, the origins of the Shida night market area can be traced back to some lower class Mainlanders who came to Taiwan with the KMT. They occupied the open spaces between Jinshan South Rd., Heping east Rd. and the north part of Shida Rd. It was known as “Longquan night market” because Longquan Street was the main street at that time.

In 1967, the government expelled all squatters, knocked down illegal buildings in the area and built Shida Rd. Some businessmen moved to the Nan Ji Chang night market (南機場) and the Zhong Hua business Center (中華商場, in the Ximen area), other trader and food stalls gathered on Shida Rd (now the park).

In 1987, due to urban planning and requests from local residents, Taipei City Major Hung decided to expel vendors and built a park on Shida Rd. A few stall-keepers moved into the lanes and alleys on the east side of Shida Rd. The businesses requested to keep their house numbers and continue running their businesses.

From the 90’s, because of NTNU Mandarin Training Center and the academic background of many local residents, new cafes and international restaurants became more and more common in the area.


(Every shop in Lane 13, Pucheng St. is closed now)

 

Enlarging the scale of business area

2007

Boutique shops began opening in the area. The number of clothing stalls was growing.

2008

A famous writer, Han Lianglu (韓良露) introduced and promoted the “Kang-Qing-Long” life area concept as a tourist attraction. This area stretched from Yongkang Street (永康街) to Qintian street (青田街) and Longquan street (龍泉街). The media began to promote culinary delicacies in the Shida area. The Longquan neighborhood tried to attract attention by holding a “shopkeepers’ beauty contest and a “best shop in Shida” contest.

2010

In January the Longquan neighborhood began cooperating with the Taipei City Market Administration Office and the Taipei City Office of Commerce. Under the guidance of the city government, they planned to found an autonomous night market committee, to redesign street signboards and undertake an environmental cleaning program. They were forced to postpone parts of their project due to the objections of local residents.

The Taipei City Office of Commerce promoted Shida as one of the top five business areas in Taipei. Local shops enrolled in the “Beef Noodles Festival” and other official tourism events. The Shida area became a new tourist spot.

In September, the Tourism Bureau and the South Village company which belonged to Han Liang Lu (韓良露) launched the “Spotlight on Taipei” program to attract international tourists.

SIGN

(Shida "night market" was only on the sign of MRT exit for months,
it has now been reverted to the original name.)

2011

The Longquan neighborhood office founded an association of businesses in the Shida area and built a billboard, “Welcome to the Shida Business Area”. They even changed the formal name of the bus stop from “Shida 1” to “Shida Night Market” and began indicating the night market at the MRT Taipower Building Station. This move enraged local residents.

At the end of 2011, the Shida business area won the ‘most popular award’ in a Taipei City Office of Commerce contest. Meanwhile, the number of shops had increased from 200 to 700 in just two years and extended further into nearby residential districts. There was a rapid deterioration in the surrounding living environment with pollution from overcrowding, smells, noise and rubbish.

On 26th October, due to the increase of clothes shops and restaurants in the neighborhood, residents from Taishun St. (east of the night market area) organized a public hearing to ask Taipei City Hall to ban illegal shops in residential areas, and formed the Shidahood Association (師大三里里民自救會). In response, Taipei City government formed a Special Shida Taskforce (師大專案小組) headed by deputy mayor Sherman Chen (陳雄文) and involving a wide array of government departments. They first banned all foreign restaurants on Lane 13, Pucheng St.

2012

In February, some shops organized the “Shida Business Area League” petitioning to the government for their right to work, through different forms of protest such as stand-ins, kneel down and turning off all the lights on the street for 30 minutes.

In May, the Shidahood Association posted an article on the blog criticizing that Shida Park had been left abandoned as a dangerous and licentious zone.

On July 15th, the legendary live house Underworld was forced to close under pressure from the Shidahood Association.

In August, Roxy Jr. Café which had been running for 18 years on Shida Rd. hung a first banner to counter the protest banners of the Shidahood Association. Yet, on 19th August they nevertheless decided to close up temporarily.

 

JR

("Legal businessman against fake neighbors' persecution" wrote by Jr. Cafe)

References

http://zh.wikipedia.org/wiki/%E5%B8%AB%E5%A4%A7%E5%A4%9C%E5%B8%82

David Frazier, Dodgy dealings, TAIPEI TIMES, 2012.07.25

找出師大商圈四贏的藍海,聯合報社論,2012.02.27


Edited by Nick Coulson

 

 

週五, 19 四月 2013 14:47

The Soundfarmers: Electronic Music Composes Anti-Nuclear Statement


In Dec 2012, A DJ collective called "Soundfarmers" from Taipei released an electronic music compilation "I Love Nuclear," which has been reviewed in Paul Farrelly's eRenlai article A Sonic Meltdown: A Review on "I Love Nuclear!?"

Listen to the concept behind the album. For more information, check out their website or buy the album on the Green Citizens' Action Alliance webstore.

週四, 16 五 2013 00:00

Amateurs in Tokyo - Reasonable Riots

Study, graduate, work, start a family,
I've tried my hardest, but I've always been down and out. Whose rules am I supposed to be playing by? What course have I been put on?
Let's break the rules! Take the piss, to get back a bit of logic!

by Zijie Yang, translated by Conor Stuart and Julia Chien from the original Chinese, photos by Park Swan

週五, 01 三月 2013 12:53

東京素人,作亂有理!─ 貧窮青年的奇幻旅程

讀書、畢業、工作、成家,
我很努力,卻一路窮到底,這究竟循著誰的規?蹈了誰的矩?
打破規矩吧!惡搞,是為了重新活出道理。

撰文|楊子頡

週五, 28 九月 2012 15:26

The Sweet Burdens of Wu Sheng and Wu Zulin


Father Versus Son, A Revision of the Old Classics

The Taiwanese use the phrase “sweet burden” (tian mi de fu he 甜蜜的負荷) to describe the ambivalent relationship between parent and child. The phrase derived from poet Wu Sheng’s(吳晟) poem “Burden” (fu he負荷). The immense popularity of the poem can be partially attributed to its inclusion as Chinese literature textbook material, even more so perhaps becauseof its colloquial and vivid description of the bittersweet parenting experience that resonates with so many people. “Burden” was written in 1977, that was when Wu Sheng first tried hishand at parenting. Nobody expected that 30 years later, he would join forces with his second son Wu Zu-lin (吳志寧) to give “Burden” as well as his other poems a new life.


週五, 14 九月 2012 18:27

Reader Response to September Focus: Living Together

The Rock (1996)

Daphna has lived in the Shida Area for 6 years and studies at Chengchi University - here is her response to our September Focus on Living Together:

第 1 頁,共 3 頁

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